In the 2nd half of the 19th century architecture there was the so-called Eclectic period. In modern language, eclecticism is a mixture of styles in a single architectural project or neighborhood of items in different styles which sometimes poorly match each other. But this definition is far from the original meaning of the word. An architect of the 19th century did not mix styles in buildings, but he rather worked on the project remaining faithful to the chosen style to the end. After all, the word eclectic comes from the Greek ἐκλεκτός: chosen, selected (ἐκλέγω: choose, select, elect; ἐκλεκτικος: elected).

The novelty of the Eclectic period was the fact that the architect was free to choose the style of the building. The styles of different epochs and cultures have become of equal value and architects could choose any of them, but in accordance with national priorities and functionality. In general terms, for example, the museums were mainly built according to the classical canon, the theaters were often stylized in the Baroque.

Thus, the 2nd half of the 19th century, when it was dominated by eclecticism, was a period in art that didn't have its own style. Architects had the following goal: to find a style. And it was found. It should be noted that for the art theorists of the 19th century the word style meant ornament.

The pioneers of this new, modern style were the French masters of ornamental art, those who designed the furniture, lamps, jewelry and so on.

The bedroom set "Water Lilies", Louis Majorelle

A brooch by Rene Lalique

In the 1890s things like that were sold in two Paris galleries, which gave the style the name of Art Nouveau in the French language and in most other languages and the name of Modern in the Russian language.

The first buildings in the Art Nouveau style were richly decorated with ornaments on the outside and they were full of them inside. Whimsical lines of fantastic plants, mysterious animals, stylized images of leaves, lilies, salamanders cover the floor, the walls with a solid network, crawling along the stairs to the upper floors. The buildings, columns, and balustrades turn into a ornament.

The building of the Ceramic Hotel, architect — Jules Lavirotte.

The "Thistle" (Les Chardons), Paris. Architect — Charles Klein, ceramic artist — Emile Muller

Entrance pavilion for the Paris metro, architect — Hector Guimard

The Tassel hotel in Brussels by the architect Victor Horta

Artists and architects of that time painted swans, peacocks, ferns with great enthusiasm and all of them had unusual shapes, since they gained a freedom to speak their own language, and not to copy the ornaments of the past. They felt modern in all aspects of their life: in clothing, in life, in creativity.

The Ryabushinsky's mansion in Moscow, architect — Fyodor Shekhtel

The Modernist style was widely spreading around the world in the 1890s and prevailed up to 1910. For such a short period it underwent rapid and complex evolution.

The first examples of buildings of this style were built almost simultaneously everywhere (France, Russia, the USA, Belgium, Germany), and they looked identical. The same flexible lines of ornaments, the same floral and animal motifs, forging, stained glass and ceramic tile everywhere.

But then the style lost its unity. Original styles started to appear (for example: Vienna, Finnish, Catalan). Regional Art Nouveau styles are characterized by an appeal to the ancient local architecture, but not its blind copying (as happened in the era of Eclecticism), and by a free fantasy on the themes of the past. It was kind of a dream, which did not hide its unreliability. This architecture was called the national romanticism.

I want to highlight the best and the most well-known representative of Catalan school — Antonio Gaudi. I will just publish some photos of his buildings, as the architectural heritage of Gaudi's worth having a separate publication.

The World War I put a stop to this unusual style. Moreover, in the 20th century other problems appeared connected with ecology, the increasing of urban population, the growth of manufacturing industry. All of this is reflected in the architecture. The rejection of the heritage of the past happened and a completely new architectural language was created. It was the era of Modernism.

The publication is based on the lectures by Artem Dezhurko, the HSE Art and Design School.

Photos are taken from the Internet.